Disembodied Emma knows the trouble she's avoiding whilst finally experiencing a taste of the joy that comes from spending time in the company of her soulmate Julian, even if its only in Memoria. But for young Emma she does have a body to return to, even if it's currently hijacked, and if she can play her cards right, so will Julilan (but if that awareness is to come it won't be until much later). Síndóm will finally be used to alter reality as its original owner intended, for the untold number of souls which will no longer be able to follow the Tunnel of reincarnation if Rowan kills the Builder. But whether she knows it now or not, the fae dagger has the potential for great good to come from Emma wielding it. Emma needs to find a way to stop Rowan and her unique gifts as a Transcendent soul give her the edge no one else has had. Getting back into her body is just the start of the mammoth effort it will take, and how many of her helpers will still be alive at the end of their epic battle to see that possible is unknown. Whilst they fight for her, she'll need to fight for everyone.
Whilst Emma and Julian use Memoria to conjure memories that will hopefully provide important clues, her friends are busy taking an account of what has taken place and fighting off the zombies raised by Rowan to distract them whilst she escapes. Utilising her cunning and fae-witch magic, Rowan meanwhile puts in to play her nefarious plans, making use of Emma's youthful body and her goals for using Síndóm. In uncharacteristic moments the use of Emma's body shows a melancholy only previously seen when she discovered her lover's dead body. As Stefan collects those who are to help him track down and recover Emma's body, it becomes apparent that the Black Rose Society is against involvement in any affairs other than their own. Their shortsidedness will possibly affect their future greatly, they're just too stupid to know it. Vera Gentis is an unapproved hidden society and disregarding Emma as a previous BRS initiate, the only malady the BRS sees influences the inconsequential mortals they care little for. Tangling with the Witch Empress and her minions isn't an action many in the supernatural community consider to be a priority, if an approved effort at all. Lorance is called up to attend his queen, so the resources needed must be kept secret, if Stefan is to have any chance at all.
The future, as once again Emma takes up residence in another of her incarnations and avatars, is a dystopian world affected greatly by events that take place because of Rowan's meddling. Between her necromantic spells and destroying the Tunnel Builder, shades, starvation, civil unrest and the destruction of most technologies, is just the tip of the iceberg of the ending of social life as we know it. The future is a dire struggle and people untainted by Rowan's plans are at risk of becoming extinct. As her new alter ego, Governor Larkin, Emma tries to quickly get a grasp on all that has occurred between her disembodiment and the past seventy-plus-years, as for Larkin the present is now 2088. Unlike the past which has already occurred and therefore offers clues to what will take place, the future is a complete unknown to Emma's soul. The captain of her guard, Gault Abbot, is a future incarnation of Stefan, who is now completely human, just as Emma once was, and is also once again a lover. Whilst Emma was previously able to see to the actions necessary to keep history playing out the necessary course, she'll now need to find a way to do the opposite. If Emma finds her barings quick enough, and the clues whilst in Larkin's body, she might find the right questions to ask.
The past once again takes on an important role, and Emma finds herself revisiting Hanna's life, back in 1509. The good deed she did for Hal, despite his station, hasn't been enough to protect Hanna. Síndóm was used to kill Hal's treacherous brother, who'd fallen under the influence of Rowan, but Emma was not able to use it against Rowan herself. As expected Rowan has been able to extend her influence again and has not given up her goal to recover her mother's missing dagger. Keeping Síndóm from getting into Rowan's hands was the only play available following the events which took place in Hal and Hanna's secret cave; now she faces assured torture and probable death unless she reveals what happened to Síndóm. Hanna's fear of the upcoming torture in the Bloody Tower has prompted Hanna to call on Emma's soul, in the hope it'll help her get through her upcoming pain. Of course, from Emma's perspective she believes Hanna to be the tougher of the two and thus had a greater chance of enduring. She can hardly blame the scared girl for trying to ameliorate her situation, but she now has to worry if she'll buckle under the torture.
Most importantly though, and hopefully seen by Emma, the two timelines and incarnations she's being drawn to present answers to the questions Emma needs to ask. Once she works out the important questions, seeking the answers might lead her to solving the greater riddle. Unfortunately this is not the full extent of problems to be solved, but they do go a good way toward helping Emma to keep her friends and the world of her present life safe. The remaining problem of being disembodied assures two things: firstly, that should she solve the riddle of Síndóm she'll at best have only Memoria available to her if she can work out how to get back to Julian; and secondly, for Emma to win completely she's reliant on the dedication of Stefan's love and the commitments of the psuedo-friends he collects to help him save Emma from the ultimate ending of problem one. Therein lies the romanticism of the storyline regardless of the diabolical nature of the problems that exist: love, trust, dedication and friendship are the tools by which most characters will apply their wills, to see that neither of their two evil combatants succeed. That is to say, that neither Rowan nor KoR win the day. Fortunately for our heroes and heroines, Rowan hasn't created and fostered relationships, and is thus isolated in her efforts by the methods she's used.
The deep intricacies to the plot make a defining feature of Shay's writing. The complexity of coordinating events subject to changes brought about by changes in time require an enormous control over where a story can and cannot go. The linear direction of most stories that travel from A-The Introduction, to B-The Body, to C-The Conclusion aren't nearly as structurally simple: not to imply that writing a story is ever simple. The depth of B is such that it must go through many changes before it reaches C. Indeed, I imagine that stories involving changes in timelines require B to first travel through the letters B to somewhere around G, such that the resulting conclusion becomes H. The mechaniam of time within has a greater biological nature, adding a hint of science fiction only; whilst firmly retaining the paranormal and the supernatural. The methodology chosen is much more suited to the broader aspects of the relevant genres, adding elements that should make the series even more appealing to a wider reader base.
Shay's novels have been imaginative and thick with mystery, whilst not becoming wildly inconceivable. Straight forward language with enough cultural icons to guess with some accuracy at the writer's nationality, without making it difficult for other cultural readers to translare, shows a willingness to bend to reader needs through an awareness of the icons only our own culture knows. From my own personal experience I can attest to the level of consultation used in compiling the final edit, and its these processes and standards that ensure readers get not only an enjoyable experience, but also great value for their dollar. For fans this isn't always a critical component but for new readers looking to ensure the additions to their libraries are well spent, I'd challenge anyone to validate their criticisms when it comes to the checkboxes we use to evaluate what we read. The Heartblaze Trilogy thus far isn't just another, in a very long line, vampire story; its transcended (pun intended) what we've come to expect.